Snobbin: Beautiful Trash in the Pop Culture Gutter

I used to see myself as an all-too-serious writer when it came to writing fiction. I always tried to write what in the past would have been considered the Great American Novel or those very serious stories that people would read in The New Yorker or The American Mercury . Apparently, I thought of myself as a modernist 1920s-1950s writer telling stories about characters in the vein of Gertrude Stein or J.D. Salinger, exploring the foibles of normal people. I slowly realized that my writing style is close to this vision but not in the way I thought. I am improving my process by writing earthy stories full of humor and straightforward storylines, covering the daily adventures of normal people. I really have no ambitions to write the Great American Novel anymore because I would rather write for myself and the average fiction reader. I am becoming more comfortable in my skin as a writer.  The narrative structures I was creating in more fiction were far different; in fact, I was dabbling...

  My relationship with the Coen Brothers' films is somewhat tumultuous. It seems like for every excellent movie they make, there are two that leave me with reservations.This applies to their entire filmography because I find myself loving certain movies like Barton Fink and Miller's Crossing , yet am completely disappointed with others like Raising Arizona and The Lady Killers. I admit that I probably should delve more deeply into their later films; I've barely given them the chance. In my teenage years, I was something of a indie film snob; I stayed up late at night to watch Bravo and any independent film on Showtime or HBO. I was there for the everything from Floundering and Spanking the Monkey to Clerks and Pulp Fiction. The first time I saw Fargo was on Showtime when they were counting down the best independent films of 1996. My taste at the time wasn't so refined; I remember thinking that Swingers should win -- I had an early, cloying fascination with th...